I forgot all of my notes at school, but having just got off the bus, I feel obligated (at this point, having just started a *NEW POST*) to write and link something, somewhere. So, if you are still reading this, here's the payoff
Tomsachs.org
It's foamcore, not cardboard, but you get the picture
More soon
Wednesday, September 26, 2007
Monday, September 24, 2007
Danielle McKain
And Jason, I need to resize your images, but I'm going to try and post them soon. Sorry for the delay. Cady, I just checked, but the images never made it to my email. Would you please re-send?
Saturday, September 22, 2007
Friday, September 21, 2007
The Politics of Fashion
So, for everyone who asked:
The shirt is a Josh Slater design for Little Cakes (click here for more info on both the project and the gallery, with proceeds benefiting New York City Animal Care & Control ) and the shoes were sourced locally, thanks to the expert purchasing team at Capitol 1524.)
Also, thanks to everyone who participated in the print exchange today-- nice work. Remember, Monday we will begin class by revisiting the painting project, and an overview of Cluster 2 (probably 10:30 or so). Look for a preview of the project proposal in the next couple of days.
And
stay tuned for upcoming photographs by Cady, Nick,& Dani.
The shirt is a Josh Slater design for Little Cakes (click here for more info on both the project and the gallery, with proceeds benefiting New York City Animal Care & Control ) and the shoes were sourced locally, thanks to the expert purchasing team at Capitol 1524.)
Also, thanks to everyone who participated in the print exchange today-- nice work. Remember, Monday we will begin class by revisiting the painting project, and an overview of Cluster 2 (probably 10:30 or so). Look for a preview of the project proposal in the next couple of days.
And
stay tuned for upcoming photographs by Cady, Nick,& Dani.
Wednesday, September 19, 2007
More painting
Okay, I know today was a haphazard, perilous look into acrylic painting, but I'm glad we started.
If you get this before class on Friday, please spread the word that (if everyone is up for it), we'll look even deeper (and more haphazardly) into the painting project on Monday, and give you some more time to explore the work before we hang them in the hallways for everyone to see. And, if you're really industrious, here's a list of the artists I pulled for today's discussion (I'll add library call numbers soon, really)
In chronological order:
Piet Mondrian
Theo van Doesburg (I didn't talk about Theo's work, but I was gonna)
Lee Krasner
Franz Kline
Ellsworth Kelly
Robert Mangold
Richard Serra
Sol LeWitt
Mel Bochner
Agnes Martin
If you get this before class on Friday, please spread the word that (if everyone is up for it), we'll look even deeper (and more haphazardly) into the painting project on Monday, and give you some more time to explore the work before we hang them in the hallways for everyone to see. And, if you're really industrious, here's a list of the artists I pulled for today's discussion (I'll add library call numbers soon, really)
In chronological order:
Piet Mondrian
Theo van Doesburg (I didn't talk about Theo's work, but I was gonna)
Lee Krasner
Franz Kline
Ellsworth Kelly
Robert Mangold
Richard Serra
Sol LeWitt
Mel Bochner
Agnes Martin
Monday, September 17, 2007
Process book for 9/26
So you've chosen an object to chart over the entire semester, what's next? As this object is going to become integral to your life, it may be interesting to think about what it can do--what is possible with it, and what limits it?
To this end, for next Wednesday (9/26), I'd like you to design a set of instructions for an action or activity that utilizes your object. These instructions should include detailed steps of how you see the operation evolving, and what role the object plays. Begin with contour drawings of the objects and actions, storyboarding your procedure as you go.
Originally (and I'll bring some examples to class), my research and thoughts for this project led me to safety brochures, schematics, and improvised tools (chindogu anyone?)-- where I located this project by Johan Grimonprez from Deitch Projects (October 2000).
What do you think the chances are of mounting this exhibition now?
Oh, wait, this is like, the fourth time I've edited this posting, but I keep remembering some other stuff that seems like it might be pertinent, to someone, somewhere, who is in the process of developing their process book that follows a single object over the course of the semester. Here's a link to a great book by Hans Ulrich-Obrist called-- you guessed it-- Do It.
To this end, for next Wednesday (9/26), I'd like you to design a set of instructions for an action or activity that utilizes your object. These instructions should include detailed steps of how you see the operation evolving, and what role the object plays. Begin with contour drawings of the objects and actions, storyboarding your procedure as you go.
Originally (and I'll bring some examples to class), my research and thoughts for this project led me to safety brochures, schematics, and improvised tools (chindogu anyone?)-- where I located this project by Johan Grimonprez from Deitch Projects (October 2000).
What do you think the chances are of mounting this exhibition now?
Oh, wait, this is like, the fourth time I've edited this posting, but I keep remembering some other stuff that seems like it might be pertinent, to someone, somewhere, who is in the process of developing their process book that follows a single object over the course of the semester. Here's a link to a great book by Hans Ulrich-Obrist called-- you guessed it-- Do It.
Sunday, September 16, 2007
Suzanne Beal is awesome
Over the Line
Recent work by second-year masters students at the University of Washington School of art
Jacob Lawrence Gallery
October 3 – 13, 2007
Opening reception on Tuesday October 2, 2007
4:00PM-6:00PM
Never mind the line! Second-year masters students at the UW School of Art overstep the boundaries of their disciplines—ignoring art-school labels and exploring new means of expression. Painters add 3D to their palette while ceramists incorporate plastics, paper and metal. The end result is an eclectic mix of media and mode.
Jacob Lawrence Gallery
School of Art Building
University of Washington Seattle Campus
Box 353440
Stevens Way
Seattle, WA 98195
Admission: free
Gallery Hours: Tuesday – Saturday: 12 – 4PM
Tuesday, September 11, 2007
Process book (Marc's class) for 9/19
So if you've been following this blog, you've probably realized by now that I'm pretty much just using it as an online notepad for myself. That being the case, if you're reading this on Tuesday, you're about to get a sneak peek at some of the process book projects we'll be engaged in for the next few weeks.
For next Wednesday, September 19:
Choose a single object that you are interested in exploring for the ENTIRE SEMESTER. This object should (ideally) be something that proposes serious, deep questions to you-- questions about its form, its function, its place in the universe. Photograph the object (multiple times, as though you were doing a photo shoot for ANTM, thinking about the context of the shoot, the *feeling* of the object).
During these multiple investigations (over the next several-- 13 or so--weeks), you'll be tracing your chosen object, photographing it, performing with it, writing about its nature, discussing it, looking for things like it, carrying it, changing it. These process books will record not only the thing, but your changing relationship to the thing. As this item will be an integral part of your studio practice for the semester, you may want to choose/use something that already exists in your immediate space, something that you carry/work with/want to have, something that is in your everyday, already. Perhaps something like
a pair of grey socks, from a Banana Republic outlet, worn through the heel, and now seldomly used
your favorite pen, maybe a Pilot Precise V5 Rolling Ball, Black
your keychain, perhaps a spring-loaded metal clip-- not the carabiner design you frequently encounter at upscale camping stores, but the kind used to hold a dogleash to a collar, it's chromed-finish chipped and worn
your cell phone, perhaps a Nokia bar-type phone, its face scratched deeply from being tossled in a pant pocket with keys, and binder clips, set on *silent*,programmed with a ringtone succinctly called "Nokia Tune" but that, in some obtuse way, reminds one of the theme song to "Knight Rider"
a binder clip, small, fragile, and slightly twisted from multiple uses
your wallet, maybe a dense, oiled tan leather, purchased from a local vendor (in Oregon?), who had taken care of the cow since birth, skinned it, tanned the hide, and showed considerable pride at having sold it to an appreciative client at an event that benefitted breast cancer awareness
a piece of paper, covered in rampant scribblings, many of which are rough edits of the text you are reading at this very moment
a 42.3 fluid ounce water bottle, from Crystal Geyser, purchased a month ago from Trader Joe's and held at room temperature in the pantry until being opened and drank over the course of a single day
compact disk (maxell 80 min/700 mb) in a clear plastic sleeve, found in a stack of papers without a label, awaiting a trial run (again) to discern its contents
a sickly, pale yellow file folder (taken from a cubicle in an office) with the name "Stinson, Sierra" written in black pen on a small white label
laptop, an older Powerbook, dependable and cool
For next Wednesday, September 19:
Choose a single object that you are interested in exploring for the ENTIRE SEMESTER. This object should (ideally) be something that proposes serious, deep questions to you-- questions about its form, its function, its place in the universe. Photograph the object (multiple times, as though you were doing a photo shoot for ANTM, thinking about the context of the shoot, the *feeling* of the object).
During these multiple investigations (over the next several-- 13 or so--weeks), you'll be tracing your chosen object, photographing it, performing with it, writing about its nature, discussing it, looking for things like it, carrying it, changing it. These process books will record not only the thing, but your changing relationship to the thing. As this item will be an integral part of your studio practice for the semester, you may want to choose/use something that already exists in your immediate space, something that you carry/work with/want to have, something that is in your everyday, already. Perhaps something like
a pair of grey socks, from a Banana Republic outlet, worn through the heel, and now seldomly used
your favorite pen, maybe a Pilot Precise V5 Rolling Ball, Black
your keychain, perhaps a spring-loaded metal clip-- not the carabiner design you frequently encounter at upscale camping stores, but the kind used to hold a dogleash to a collar, it's chromed-finish chipped and worn
your cell phone, perhaps a Nokia bar-type phone, its face scratched deeply from being tossled in a pant pocket with keys, and binder clips, set on *silent*,programmed with a ringtone succinctly called "Nokia Tune" but that, in some obtuse way, reminds one of the theme song to "Knight Rider"
a binder clip, small, fragile, and slightly twisted from multiple uses
your wallet, maybe a dense, oiled tan leather, purchased from a local vendor (in Oregon?), who had taken care of the cow since birth, skinned it, tanned the hide, and showed considerable pride at having sold it to an appreciative client at an event that benefitted breast cancer awareness
a piece of paper, covered in rampant scribblings, many of which are rough edits of the text you are reading at this very moment
a 42.3 fluid ounce water bottle, from Crystal Geyser, purchased a month ago from Trader Joe's and held at room temperature in the pantry until being opened and drank over the course of a single day
compact disk (maxell 80 min/700 mb) in a clear plastic sleeve, found in a stack of papers without a label, awaiting a trial run (again) to discern its contents
a sickly, pale yellow file folder (taken from a cubicle in an office) with the name "Stinson, Sierra" written in black pen on a small white label
laptop, an older Powerbook, dependable and cool
Not 100 but
Not long after we began working on the first process book assignment, this writing by J. Robert Lennon came to mind. His reading of this piece has also been broadcast on This American Life.
Saturday, September 8, 2007
The whole website, right here
Miranda July circles around every art program in the world right now, but looking at her website trailer for her new book (click here), I can kinda see why. Nice work Miranda.
Thursday, September 6, 2007
Cluster 1 makes me think about these
From top to bottom:
Vija Celmins, Untitled (Big Sea #1)
1969, Graphite on acrylic ground on paper
Private Collection. Courtesy McKee Gallery, New York
David Hockney, Portrait of an artist (pool with two figures), 1971
Gabriel Orozco, Untitled (this is an image that came to mind as we were working, but
this is probably more pertinent (thank you Guggenheim)
and
Scott Fife's new exhibition True Grit is on view now through October 13 at Platform Gallery. More images of Scott's work can be seen on Platform's site here.
Saturday, September 1, 2007
Bauhaus Bauhaus
This image (and lengthy history) comes from here
And I love the wall color, but those stools don't look very comfortable.
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